The doors of the church are the point of entry from the profane exterior world into the holy place, the passing from one world into another. The doors stand as a symbol for Christ, for he tells us: “I am the gate. Whoever enters through me will be saved” (John 10:9). 

The central door of Saint Paul’s is framed by a portico supported by composite (a combination of Ionic and Corinthian) columns. Within the portico, the door is crowned by a tympanum which displays an image of Saint Paul flanked by two adoring angels. Surrounding the rim of tympanum is the passage taken from the First Letter of Saint Paul to Timothy (1 Timothy 3:15): “The Church of the Living God the Pillar and Ground of Truth.” This scripture quotation recognizes that the Church established by Christ is rooted in unwavering truth and is made manifest by the physical edifice of this church. In the frieze below are the nations who were converted by Saint Paul’s preaching. Above the side doors to the left and the right are cast stone reliefs of the coat of arms of Pope Benedict XV and William Henry Cardinal O’Connell, the pope and cardinal archbishop of Boston when the construction of the church began. 

The bell tower is modeled after the Torre dei Lamberti, also located in Verona, Italy. 

At the top are four bells, who act as preachers calling people to prayer. Theologically, the significance of bells comes from Christ’s entry into Jerusalem on Palm Sunday, When the Pharisees witness the crowds adoring Jesus, they tell Him to rebuke His disciples, yet He responds, “‘I tell you, if they keep silent, the stones will cry out!’” (Luke 19:40). Bells are made from metals, which are found amongst the stones of the earth. Thus, bells reveal the power of Christ to imbue all of creation to sing of His glory. The bells ring the Westminster chimes every quarter hour, as well as the distinctive Angelus bells at noontime each day. The bells were cast by Mcneely & Company of Watervliet, NY and integrated into the fully mechanical weight clock system manufactured by E. Howard Clock Company of Boston, MA.

Each year on the Solemnity of the Ascension, the boys of Saint Paul’s Choir School climb to the top of the bell tower at noon and sing hymns of Christ’s ascension into heaven.

The church building has the traditional cruciform shape. Seen from above, it forms the cross of Christ crucified with his head at the sanctuary. This symbolism works on multiple levels: it is an exterior sign to the passerby, conforms the congregation to the shape of the cross, and places Christ at the center of the liturgy.

The Temple in Jerusalem, made up of three distinct rooms, provides the most basic structural model for all traditional Catholic churches. The narthex, nave, and sanctuary correlate to the porch, inner room, and holy of holies of the Temple. 

The narthex marks another transition from the outside world into a most sacred place. The room is compressed in height with dark oak paneling, complex wood carvings, and three small domes situated at each of the doorways. The main body of the church is visible by way of a wooden and glass screen with a series of leaded “SP” crests to represent Saint Paul. 

The narthex is comparable to the ulam (porch) of the Jewish Temple in Jerusalem (1 Kings 6:3 & 2 Chronicles 3:4). 

Nave comes from the Latin navis, meaning ship. The large barrel vault reflects the hull of a ship, turned upside down. Like the ark of Noah, the church provides a place of refuge amidst the violent storms of the world. Furthermore, it is Christ himself that “even the winds and sea obey” (Matthew 8:26). For these reasons, we refer to the Church as the Barque of Peter, a ship navigating the waters of the world with the pope at its helm, Saint Peter being the first pope. 

Again, looking at the structure of the Jewish Temple, the nave correlates to the hekal, the large inner room. The walls of the hekal “had carved figures of cherubim, palm trees, and open flowers. ... overlaid with gold” (1 Kings 6:29-30 & 2 Chronicles 3:5-7). The Temple’s interior was representative of the Garden of Eden, the original place of order and right relationship with God, but perfected with gold, showing a restored order of Earth as it will be seen in Heaven. Likewise, Saint Paul’s Church is filled with nature images–vines, flowers, leaves, lilies, grapes, birds and other animals.

Lining the nave are massive freestanding Corinthian columns. On the column capitals are the symbols of the four Gospel writers: angel (Matthew), lion (Mark), ox (Luke), and eagle (John). These symbols correspond to the “four living beings'' described by Ezekiel and in the Book of Revelation (Ezekiel 1:10 and Revelation 4:7). Additionally, above each of the four symbols is the six-pointed Star of David. Viewed together, they honor both the Old and New Testaments. 

The principal loft organ was built by Boston firm Jesse Woodbury & Company in 1904 for the first Saint Paul’s Church on Mt. Auburn and Holyoke Streets. It was enlarged, electrified, and reinstalled in the new church by Emil and Paul Mias. Over the years, the organ underwent multiple expansions and alterations, including work done by the famed Aeolian-Skinner Organ Company of Boston.

Saint Paul’s Parish is also home to Saint Paul’s Choir School, the only all-boys Catholic choir school in the United States. The school, founded by Theodore Marier in 1963, is dedicated to “form the faith, character, and intellectual and musical abilities” of the young choristers.

Above the nave’s columns is a frieze containing 18 bas-relief panels depicting scenes from the life of Christ. In between the panels are large shields bearing a cross atop which sits the papal tiara.

Beginning closest to the organ loft on the east side of the church, from left to right, are scenes from the private life of Christ:

1.Annunciation: The angel Gabriel is sent to the Virgin Mary announcing that she is to be the mother of the Christ-child (Luke 1:26-27).

2.Visitation: Mary goes in haste to visit her pregnant cousin Elizabeth. Upon hearing Mary’s greeting, the child in Elizabeth’s womb leaps for joy and Elizabeth exclaims the Magnificat, both prophecy and canticle (Luke 1:39-42).

3.Nativity: In the town of Bethlehem, Mary gives birth to the first-born son and lays him in a manger (Luke 2:1-7).

4.Presentation in the Temple: The infant Jesus is taken to the Temple in Jerusalem for his circumcision according to the Law of Moses (Luke 2:21-24).

5.Visit of the Magi: The three wise men from the East journey to Bethlehem to pay homage to the Infant Jesus (Matthew 2:1-12).

6.Flight into Egypt: Mary and Joseph flee with Jesus to escape the murderous sword of King Herod (Matthew 2:13-15). 

7.Finding of the Child Jesus in the Temple: Traveling to Jerusalem for the feast of the Passover, Jesus stays behind after the feast ends. After three days of searching, his parents find him sitting in the Temple among the teachers, listening and asking them questions (Luke 2:41-50).

8.Workshop at Nazareth: Jesus grows in wisdom, age, and grace before God and men in the household of Mary and Joseph, the carpenter (Luke 2: 52).

9.Wedding Feast at Cana: Christ performs his first miracle of changing water into wine at the insistence of His blessed Mother, thus marking the entrance into his public ministry (John 2:1-12).

 On the west side of the church, from right to left, are scenes from the public life of Christ:

10. Baptism in the Jordan: Jesus comes to the Jordan River for baptism by John, equipping him for his ministry. The heavens are opened with the Spirit of God, in a dove, descending upon him. And the voice of the Heavenly Father saying, "This is my beloved Son, with whom I am well pleased" (Matthew 3:13-17; Mark 1:9-11; Luke 3:21-22).

11.Calling of the First Disciples: Upon seeing Simon and his brother Andrew, Jesus says to them, "Come after me, and I will make you fishers of men" (Matthew 4:18-22; Mark 1:16-20; Luke 5:1-11; John 1:35-51).

12.Primacy of Peter: Christ designates leadership to Peter when he establishes his Church. For he says, "You are Peter, and upon this rock I will build my church" (Matthew 16:18-20).

13.Sermon on the Mount: Christ offers a blessing of a future reward for establishing the Kingdom of Heaven here on earth (Matthew 5:1-12).

14.Blessing of the Children: Jesus lays his hands on the children, then tells his disciples, "Let the children come to me, and do not prevent them; for the kingdom of heaven belongs to such as these" (Matthew 19:13-15).

15.Forgiveness of Sins: In the story of the sinful woman, her great faith and desire to be restored leads her to anoint Christ’s feet. Christ forgives her of her sins and sends her on in peace (Luke 7:36-50).

16.Raising of Lazarus: Jesus miraculously calls forth Lazarus, brother of Mary and Martha, from the tomb where he had been interred for four days (John 11:1-44).

17.Entry into Jerusalem: A great crowd welcomes Christ into Jerusalem by strewing palm branches and their cloaks in the street and proclaiming “Hosanna to the Son of David" (Matthew 21:1-11; Mark 11:1-11; Luke 19:28-40; John 12:12-19).

18.Institution of the Eucharist: At the Last Supper, Jesus provides us with the source and summit of the Faith in the sacrament of the Eucharist (Matthew 26:26-30; Mark 14:22-26; Luke 22:14-20).

The west panel recalls his most famous Areopagus Sermon delivered to the people of Athens. Saint Paul explains the nature of Christ at the location of the pagan temples and high courts of Athens (Acts 17:22-34).

The east panel depicts Saint Paul’s preaching in Ephesus where he labored for two years bringing the Word of God to the citizens there. At the bottom of the panel, the new converts are burning their pagan magic books (Acts 19:1-20).

On the east wall, the statue of Saint Peter stands holding the papal keys with the gold key signifying heaven and the silver key representing earth. The statue was donated by the local council of the Knights of Columbus. During World War I, the Knights helped support the war effort with welfare centers for the soldiers. Written below is the council’s name and number “74 Cambridge Council 74.”

The statue of Saint Paul shows him holding a large sword, the means of his martyrdom. At the statue’s base is the adorned Veritas shield of Harvard University with “St. Paul Harvard Catholic Club” written at the statue’s base as the statue is in memory of the six Harvard Catholics who perished in the Great War. 

Stained glass is an image of the radiant gem-like foundational walls of the Heavenly City of Jerusalem (Revelation 21:9-23). “The wall was constructed of jasper … clear as glass. The foundations of the city wall were decorated with every precious stone” including jasper, sapphire, chalcedony, emerald, sardonyx, carnelian, chrysolite, beryl, topaz, chrysoprase, hyacinth, amethyst (Revelation 21:18-20). The images are revealed only by the immaterial rays of the sun. It is by Christ, the light that shines in the darkness, that all is illuminated (John 8:12).

1. Saint Athanasius (c. 328-373)

The only Eastern Doctor of the Church in the windows, Athanasius is thus depicted with the eastern miter and crosier (two serpents). He combated the heresy of Arianism (denying the divinity of Christ) and was present at the First Council of Nicaea.

Text: Et Incarnatus Est (And He was made flesh) – Phrase taken from the Nicene Creed, addressing specifically the Incarnation of Christ.

Lower Symbol: Ship – Athanasius was sent into exile a total of five times by different Roman Emperors for his defense of Christianity. 

2. Saint Ambrose (c. 339-397)

Ambrose served as a Roman Governor before unexpectedly becoming Bishop of Milan. He is the teacher who converted and baptized Saint Augustine.

Text: Tu Rex Gloriae Christe (You Christ are the King of Glory) – Phrase taken from the great hymn of the Te Deum. Tradition says it was spontaneously composed and sung alternatively by Saints Ambrose and Augustine at the latter’s baptism.

Lower Symbol: Beehive – According to legend, as an infant bees hovered over Ambrose’s head. They left him unharmed with honey on his head. His parents saw this as a divine sign that Ambrose was destined to preach and unite. He is the patron saint of bees and beekeepers. 

3. Saint Augustine (354-430)

One of the Church’s most famous converts, Augustine lived a hedonistic lifestyle in his youth. He went on to become a towering intellect and the Bishop of Hippo. He is best known for his Confessions, in which he states, “our hearts are restless till they find rest in Thee” (1, 1.5). Thus, he stands holding a book and a flaming heart, which represents a heart on fire for love of God and Truth (Veritas).

Text: Mediator Est (He is the mediator) - Phrase taken from Augustine’s City of God, which states that Christ is the mediator between God and men (ix, 15).

Lower Symbol: Child with Clamshell – Recounted in Augustine’s work On the Trinity; while walking along the seashore, he came upon a child trying to fill a hole in the sand with all the water from the sea. Augustine told the child, “It is impossible.” Yet the child responded, “And you could never succeed in understanding the mystery of the Holy Trinity.”

4. Saint Jerome (340-420)

Jerome is known for his translation of the Bible into Latin, the Vulgate, thus making the bible more accessible to the masses. He stands depicted in the red attire of a Cardinal including the distinctive wide brimmed hat with tassels, called a galero.

Text: Beata Virgo Maria (To the Blessed Virgin Mary) – Jerome addressed and defended the perpetual virginity of Mary in his apologetic work De perpetua virginitate beatea Mariae adversus Helvidium (On the Perpetual Virginity of Blessed Mary).

Lower Symbol: Lion – Jerome befriends a lion and extracts a thorn from its paw. The lion remains with Jerome as his constant, faithful companion. 

5. Saint Gregory the Great (c. 540-604)

Gregory was one of the most influential and humble popes that ever lived. He is known for his doctrine, organization of the Church, and reforms to the liturgy. Depicted writing with a dove at his right ear, the image recounts the miraculous story that the Holy Spirit, in the form of a dove, appeared to Gregory and dictated the words of God. 

Text: Christe Eleison (Christ have Mercy) – One of the Kyries added to the Mass by Gregory. Gregorian chant is named for him.

Lower Symbol: Papal Keys – The humble title “Servant of the Servants of God” for the papacy was first used by Gregory.

6. Saint Anselm (1033-1109)

A Benedictine monk and philosopher who later became the Archbishop of Canterbury, Anselm was a great defender of the Church against the English Kings. Known as the founder of Scholasticism, he is referred to as the Magnificent Doctor and Marian Doctor.

Text: Cur Deus Homo (Why God Became Man) – The title of Anselm’s work on atonement.

Lower Symbol: Tree and Cross – With the Resurrection, new life is born of the Cross.

7. Saint Bernard (1090-1153)

Known as the Mellifluous Doctor because his style of teaching was so pleasing, Bernard is one of the founders of the Cistercian Order, a reform of the Benedictines, and first Abbot of Clairvaux. He is depicted with his monk’s tonsure, wearing sandals, and abbot’s crosier. 

Text: Missus Est (He was sent) – The title of Bernard’s famous homily on the Incarnation of Christ.

Lower Symbol: Cross with Crown of Thorns, Spear, and Hyssop – The cross intertwined with instruments of the Passion is representative of the red cross of the Knights Templar. Bernard was also one of the founding members of this military order of the Catholic faith. 

8. Saint Bonaventure (1221-1274)

A Franciscan academic who taught at the University of Paris, Bonaventure was elected to serve as the General Minister for the Fransiscan Order. Toward the end of his life, he was elected as the Cardinal Bishop of Albano and is thus depicted in red Cardinal’s garments.

Text: Lignum Vitae (The Tree of Life) – The title of Bonaventure’s devotional work which was written as a spiritual guide for his fellow Franciscan friars. 

Lower Symbol: Angel holding the Eucharist – Bonaventure is known as the Seraphic Doctor for his remarkable intellect. The Seraphim rank is the highest order of the choir of angels. 

9. Saint Thomas Aquinas (1225-1274)

A Dominican friar and intellectual giant, Thomas’ most significant work was the Summa Theologica. Known as the Angelic Doctor and Universal Doctor, he is considered one of the Church’s greatest thinkers. Thomas is depicted in his white and black Dominican habit. Centered on his breast is a sunburst symbolizing God’s wisdom in his heart, which guided his teachings.

Text: Panem de Coelo Praestitisti Eis (You have given them Bread from Heaven) – Taken from the liturgy for the Feast of Corpus Christi written by Thomas at the behest of Pope Urban IV.

Lower Symbol: Dove – The Holy Spirit in the form of a dove is a symbol of divine inspiration to guide Thomas’ writings. 

10. Saint Ignatius of Loyola (1491-1556)

Ignatius is the only non-Doctor of the Church depicted in the windows. A former soldier who famously converted after suffering a cannonball injury, the Spaniard became a priest, theologian, and founder of the Society of Jesus (Jesuit Order). He stands holding a cross as he is the spiritual father of many great missionaries. 

Text: Ad Majorem Dei Gloriam (For the Greater Glory of God) – The motto of the Society of Jesus, often abbreviated AMDG.

Lower Symbol: Seal of the Society of Jesus – “IHS” are the first three letters, in Greek, of the name of Jesus; it also stands for the Latin phrase Iesus Hominum Salvator (Jesus the Savior of all men). The nails represent the passion of Christ. The sunburst represents the divinity of Christ.

Saint John the Baptist

John is the last prophet of the Old Covenant. He is the forerunner of Jesus, preparing the world for the Savior. He appears clothed in camel’s hair (Mark 1:6), barefoot, and holding a wooden staff in the shape of a cross.

Text: Ecce Agnus Dei (Behold the Lamb of God) – The words of John the Baptist’s testimony about Jesus (John 1:29).

Lower Symbol: Lamb of God – The victorious lamb who was slain but reigns both now and forever (Revelation 5:1-14).

Saint Elizabeth

A righteous woman, Elizabeth is the cousin of Mary and mother of Saint John the Baptist. She is the first person to recognize Jesus, in Mary’s womb, as the Messiah.

Text: Benedictus Fructus Ventris Tui (Blessed is the fruit of thy womb) – The words of Elizabeth’s greeting to Mary during the Visitation (Luke 1:42).

Saint John the Apostle

The Beloved Disciple, John is one of the Twelve Apostles and the writer of one of the Gospels, three New Testament epistles, and the Book of Revelation.

Text: Verbum Caro Factum Est (The Word became flesh) – Text taken from the Prologue of Saint John referring to the Incarnation (John 1:14).

Lower Symbol: Eagle – The traditional symbol associated with Saint John because his Gospel describes the Incarnation and the eagle comes from the sky above. 

The clerestory windows are set in pairs. They depict Christological symbols, with every other pair being held by angels.

Beginning on the east side of the church from left to right are the following images: 

●Caged Dove of the Presentation 

●Griffin

●Angel with Book

●Angel with Hands Folded

●Grapes

●Altar with Bread

●Angel with Hands Folded across Chest

●Angel with Chalice

●Pelican (the nest is actually a crown of thorns)

●Phoenix

●Angel holding Host 

●Angel with Hands in Orans Position

●Cross with the Name of Jesus displaced vertically and horizontally

●Chi Rho with Alpha and Omega

●Angel with Incense Pot

●Angel with Golden Crown

●Altar with Hosts

●Chi Rho with Palm Branches

●Angel with Incense Pot

●Angel with Hands Folded across Chest

Beginning on the west side of the church from left to right are the following images: 

●Angel with Lily

●Angel with Hands Folded

●Sacred Heart of Jesus

●Bird sitting at the mouth of a Cave

●Angel with Hands Folded

●Angel with Palm Branch

●Fish

●Lamb with Golden Sun and Star

●Angel with Laurel Crown of Victory

●Angel with Book inscribed with the Alpha and Omega

●IC

●XC

●Angel with Gold Cross

●Angel with Thurible

●Passover Lamb with Hyssop and Basin of Blood standing in front of a Cross 

●Lamb of God with Victory Flag and sitting on the Book with Seven Seals

●Angel with Host imprinted with Chi Ro 

●Angel with Hands in Orans Position

●IHS with the Cross

●Alpha and Omega

Sanctuary:

●Angel with Specter and Host

●Angel with Specter and Host

The rose window depicts red-winged seraphims at the four cardinal directions with crosses shown in the other petals.

In the small semicircular apse on the east side of the church stands the side altar topped with a statue of Our Lady of Victory. Framing the statue are two angels adoring the Blessed Mother.

Lower Symbol: MRA - A popular monogram, or abbreviation, of the name of Mary.

The west transept is dedicated to Saint Patrick in honor of the community of Irish immigrants who founded and built Saint Paul’s Parish.

A statue of Saint Patrick adorns the rear wall with the choir stalls below it. Flanking the statue are two scenes from the life of Saint Patrick. On the right, King Laoghaire, the Celtic High King surrounded by his court, confronts Saint Patrick at the Hill of Tara in Meath. To celebrate springtime, the King issued a decree that all fires were to be extinguished throughout the kingdom so that they could be relit by the King’s central fire. Coincidentally, this event occurred on the day before Easter. In defiance of the King, Saint Patrick went ahead and lit the Easter Vigil fire, even though it was punishable by death. At the meeting at Tara on Easter Sunday in 433, Saint Patrick impressed his adversary with his witness and was given permission to preach the Gospel throughout the kingdom. In the mural to the left, Saint Patrick stands before the altar of the Cathedral at Armagh, the primatial see of all of Ireland, receiving the same King Laoghaire into the Church. The King is now kneeling with his head shorn, armor cast aside, and holding his earthly crown in his hands. An altar server stands behind the pair holding a book with An Paidin written at the top, which is translated The Prayer in the Irish language, and the text of the Our Father written below, also in Irish. Taken together, these two murals represent Saint Patrick’s efforts and success evangelizing Ireland.

On the west wall, to the right of the window is the final Irish painting. Saint Columban (Columbanus) leaves his Irish homeland with his twelve companions while his mother tries to persuade him to stay. The monks traveled to Gaul, now France, establishing several monasteries and working to reform the clergy and laity. Abbot Columban’s outspoken nature resulted in criticism and exile from the Frankish nobility and bishops. Columban and his monks were deported back to Ireland but ended up in Northern Italy.

The image to the left of the window on the west wall depicts a commemoration to the religious vocations from Saint Paul’s Parish and the Archdiocese of Boston. Located at the main altar of Boston’s grand Cathedral of the Holy Cross, Cardinal O’Connell bestows his blessing on the young men as they begin their great missionary work. Father John J. Ryan, the pastor of Saint Paul’s, stands next to Cardinal O’Connell holding a cross. From right to left: 

●Mr. Henry McGlinchey, S.J.:  Jesuit Scholastic who was sent on missionary work to India and died there in 1918, his family was longtime Cambridge residents and parishioners at St. Paul’s, his brother was a Monsignor for the Archdiocese of Boston

●Father James Anthony Walsh:  Priest of the Archdiocese of Boston, founder of the Maryknoll Missionary Society in 1911, and later a bishop, he was born in Cambridge and was briefly a student at Harvard as he transferred from BC to Harvard and then to St. John’s in Brighton

●Father Robert Carroll, O.P.:  Dominican priest who spent many years with the order’s Mission Band (group of friars who preached missions, novenas, etc.) across the US, he was baptized at St. Paul’s Parish and attended St. Paul’s School

●John J. French, O. Carm.:  Carmelite friar who was in temporary vows when the mural was painted but later left the Carmelites in 1925, he was baptized at St. Paul’s and was an altar server

●Father Paul F. Rooney, O.F.M.:  Franciscan missionary to Arizona and lower California; he graduated from Harvard College in 1898 and wrote a letter asking permission to enter the Franciscans just prior to his graduation

●Fr. Celestine Roddan, C.P.:  the Passionist superior of the first mission to China and from Randolph, MA

On the north wall is a mural of Saint John Henry Cardinal Newman, the namesake and patron of college chaplaincies at secular universities. Born in London in 1801, he converted to the Catholic faith from Anglicanism in 1845. A notable leader of the Oxford Movement, he was also a prominent preacher, theologian, and writer. This mural was added to the church in 2020.

Sitting below the stained glass window is the Chamber Organ. It was built in 1855 by William B.D. Simmons. Most recently, the organ was in use at St. John's Seminary in Brighton. The organ has both electric bellows and a hand pump blower.

The statue of Saint Joseph holding a lily, representing his chastity, is centered on the rear wall above a side altar dedicated to him. To the left is a mural of the wedding of Mary and Joseph. A rejected suitor breaks his staff below, while Joseph’s staff blooms with the lilies, the heavenly sign that he is the one intended by God to wed Mary. In the mural to the right, Saint Joseph is on his deathbed surrounded by Jesus and Mary. The text among the clouds reads “Ecce Fidelis Servus et Prudens” (Behold, a faithful and prudent servant) which is a reference to the Parable of the Talents (Matthew 25:14-30) that praises Joseph for a life well-lived and promises him eternal heavenly reward. 

The east wall projects to form a semicircular apse which contains a side altar honoring Our Lady of Victory. A statue of Our Lady of Victory sits above a tabernacle featuring an image of the Immaculate Heart of Mary and the mural above is marked with an “RV.” This title was bestowed upon Mary following the Battle of Lepanto on October 7, 1571. Pope Saint Pius V implored all the faithful of Europe to pray the rosary throughout the battle. Mary’s aid marked a turning point that halted the expansion of the Ottoman Empire. This statue therefore marks yet another connection between Saint Paul’s and the Great War. 

The mural to the left of Our Lady of Victory depicts the Presentation of Mary. Recounted in the apocryphal gospels, Mary is brought to the Temple by her parents Saints Joachim and Anne to consecrate her to God. Tradition holds that Mary remained there to study and serve in the Temple. On the right of the statue is the mural of the Assumption of Mary. At her death, Mary was taken body and soul into heaven. Because of her Immaculate Conception, Mary was freed from original sin and its effects, including corruption of the body.

The sanctuary is the head and heart of the church, where sacred worship is enacted. It is the focal point of the entire building holding both the altar and ambo, as well as the location from where the ministers exercise their offices.

The sanctuary mirrors the Holy of Holies, also called the debir, the innermost room of the Jewish Temple (1 Kings 6:16 & 2 Chronicles 3:8). The Ark of the Covenant was held here, the dwelling place of God amongst His people in the Old Covenant. The cube-shaped room was gilded in gold and covered by a veil, as the room was so sacred that no one was allowed to even see into it. Only the High Priest was allowed entrance into the Holy of Holies but once a year on the Day of Atonement to offer sacrifices (Leviticus 16).

Mimicking the golden walls of the Holy of Holies, the walls of the sanctuary at Saint Paul’s are clad in golden hued marble cut into bookmatch panels. The ceiling in the sanctuary also changes to a coffered pattern filled with rosettes and painted blue and gold, a royal covering for Jesus Christ, King of the Universe. The communion rail is a representation of the Temple veil and marks the proper separation between the nave and the sanctuary.

The prophet Isaiah stands on the right. He holds the scroll of Isaiah Chapter 7, which foretells the birth of the Messiah. On the left is the Sacred Heart of Jesus which symbolizes “His boundless love for the human race” (Haurietis Aquas 22). The devotion to the Sacred Heart was popularized by Saint Margaret Mary Alacoque who between 1673 and1675 received revelations of the Sacred Heart of Jesus Christ. 

The altar is the principal image of Christ in a church, both His physical and mystical body. The altar is the reason for the church’s existence. Everything radiates from and converges at the altar. 

Old Testament worship is centered around sacrificial offerings as way of access to God–establishing covenants, atoning for sins, and restoring man’s relationship with God. In the Temple complex, the Altar of Burnt Offerings was a large altar located in the courtyard while the Altar of Incense was located in the hekal. Looking forward, the Heavenly Liturgy also displays a golden altar of sacrifice (Revelation 8:3).

In the New Testament, Christ’s perfect sacrifice opens wide the gates of heaven, granting man freedom from sin and death. “The altar of the New Covenant is the Lord’s Cross, from which the sacraments of the Paschal mystery flow” (CCC 1182). The altar sacrifice is the whole and center of Christian worship where the events of Calvary are re-presented at every Mass.

Israel built the first Ark of the Covenant (Exodus 25:10-22, 37:1-9) to contain the signs of God’s presence among his people–the manna from Heaven, the staff of the High Priest Aaron, and the Ten Commandments (Hebrews 9:4). Just like Mary who held Christ in her womb, the tabernacle is the Ark of the New Covenant and houses the physical presence of God in the Most Holy Eucharist. Catholics believe that Jesus is truly present, Body, Blood, Soul, and Divinity, in the Eucharist under the appearance of bread and wine. Churches reserve some of the Eucharist bread for prayer, adoration, and to distribute to the sick and dying.

Above the tabernacle is a small canopy to further mark that the glory of God is present here. The underside of the canopy has a golden mosaic. The exterior of the dome is covered with stylized lilies called fleurs-de-lis and the symbols of the four Gospel writers at each corner.

Surrounding the tabernacle is the reredos, a large screen-like structure that covers the wall behind the tabernacle. This unique structure is a centerpiece of the art and architecture of Saint Paul’s Church.

The lower section of the reredos consists of twelve marble columns, each representing one of the Apostles, the twelve pillars of the church. With the exception of Saint Paul replacing Judas Iscariot near the center. Carved in the column capitals are scenes and symbols from the life or death of each Apostle. Above each capital are shields with the Apostles' Creed, the constitution of the Church.

The columns hold up a monumental beam made of limestone carved in delicate tracery. Cut into the stone are ivy branches swirling around Christological symbols which include the following: flowers, doves, birds, palm branches, grapes, crosses, roosters, miters, papal keys, books, chalices, thuribles, and pillar with flagellum. Located in the center is a cross surrounded by two peacocks; peacocks are symbolic of paradise and the immortality of heaven as it was thought that the flesh of peacocks did not decay, thus defying death. On the far ends are two more symbols of Christ each set within a Star of David; to the right is the Lamb of God and on the left is a pelican. The pelican pierces its own breast to feed its young below of its own blood. 

The reredos structure as a whole is a symbol of the Church; Heaven is won by the sacrifice of Christ found in the Eucharist upheld by the witness and workings of the Apostles.

Above the high altar and the reredos is a bas-relief of the Ascension of Christ into heaven. Jesus looks down with hands extended in blessing upon His disciples, including shepherds and children, assembled on Mount Olivet. Golden rays shine out from the glorified body of Christ. Mary, Peter, and John are the central figures of the historic gathering at the bottom center.